lemmywinks

Bit disappointed it hasn't had any tuners swapped out for odd coloured ones, no inappropriate pickups wedged into existing routs, no random volume or tone knobs from a different guitar and most imprtantly no strings removed to make it a 2 string bass for men who do manual labour (and obviously all have huge fingers with no hand to eye co-ordination). Missed opportunity there methinks, still it goes without saying that the action will be within the breadth of a gnats hair of a nun's mantlepiece, or something. Rather sadly a lot of the guitars he has up for sale are the same ones he had a year ago.

This annoys me too, surely the cost saving can't be that much? I bought a pack of two for a few quid inc delivery a while ago, they're only marginally more expensive for the end user to buy than a regular Speakon. To the OP I would just use Speakon, it's a much better way of hooking up cabs to amps and can't be pulled out accidentally.

Crikey:

I'm picturing this with a drum kit sat next to it:

Probably some outside the box maverick idea like PA facing the audience and monitors firing at the musicians?

Well, that's the MarkBass rig sold and out the door, I'm now officially ampless.

That actually looks better than my Behringer one as it has a 3.5mm output as well as phono, mine has a headset mic input instead that I'll never use. That's annoying!

https://www.reddogmusic.co.uk/catalog/product/913281/citronic-qmix3 This looks strangely similiar to the Behringer Xenyx302USB that I use only with battery power as well as USB. You can use the USB as a line in on channel 2 as well on a Windows tablet/laptop, don't know if this would work on an iPad but you could always just use the phono inputs.

Quick update on the QSC K10.2 - done about a dozen gigs with it now and it's been fantastic, no lack of grunt and handles an active 5 string with no issues playing motown, soul, disco, pop and a bit of old rock. I'm using it on the default setting at the moment although the bass amp setting was also great, both give lots of volume and clarity. Input B is configurable for a high impedance input so it doesn't matter if your preamp pedal can't drive a regular powered monitor properly. I just use it with the Fishman Pro Platinum, leaving most settings flat apart from adding compression and backing off on the brilliance control a little. Get a go-to sound without any fiddling, just gives a faithful representation of my bass. The real revelation has been placement options with it being so small, having more room on stage while still being able to hear myself clearly is a massive bonus for me as I'm pretty tall, don't think I'll ever go back to using a traditional amp. My MarkBass rig is being picked up by it's new owner on Wednesday and my BFM Omni 10.5 is also up for sale. Keeping the little EA cab though, that thing it too cute to sell although I no longer have an amp to power it.

Two and a half hours for setup is nuts, we're done in an hour every time. I think your drummer needs to buy himself a decent full range monitor or use in ears.

Being a good band member works both ways though, hopefully your band leader can rectify your on stage sound.

Why are you the one turning up early to help cart all this junk around? It's bad enough you have to suffer through this dual PA nonsense let alone being the one carrying it all! I hope your gig doesn't involve stairs. If band members want to live through some infantile rock fantasy then the least they can do is load the equipment in and out of the van. I know it might be a futile effort but have you mentioned in ears to them?

I'm not arguing a point, just trying to ascertain what is inside the actual cabs the OP owns and whether it would be ok for him to swap out the tweeter for a different one. From memory the piezo tweeters had a habit of blowing (this is what happened to mine) so maybe those P cabs had incorrect configurations. If anyone has either cab and fancies taking internal pictures then that would probably help a lot.

Two posts where owners of both P and H cabs have discovered the same crossover used in both: https://www.talkbass.com/threads/installing-new-tweeter-in-markbass-combo.991340/#post-14458666 https://www.talkbass.com/threads/replacing-the-tweeter-in-a-markbass-cmd121p.505727/#post-6812438 Anybody fancy opening theirs up and posting a picture?

When I put the Stageline in my cab I went off information in this thread: https://www.talkbass.com/threads/installing-new-tweeter-in-markbass-combo.991340/ The fella opened his CMD121P and his accompanying extension cab (the H version with a proper horn) and found they use the same crossover regardless. If you want to disconnect it and are unsure of what to do then have a look at this thread which details which wires go where:

What does he have against using two cabs and one or two subs for out front along with stage monitors? Surely having a PA at the back of the stage causes mic bleed and feedback issues?

They do/did, quite a few of their cabs have nice little compression drivers in. I think it's just a cost saving measure, those LeSon tweeters will cost MB pennies to buy per unit whereas a better quality alternative with the hardware to make it attenuable will be many times more.

I replaced it with a Stageline HT30, on some MB cabs you have to widen the hole (you can make yourself a template from the rubber grommet that comes with the tweeter) but on some of the older ones I think the hole is ok as is. Was a vast improvement over those LeSon piezo things they use(d), no horrible scratchy noises or brittle sounding highs. Really you could just bypass the tweeter anyway, I think someone on here did that a while ago and posted instructions.

I get home, have a little bit of rum and watch telly for half an hour while browsing eBay ending soonest listings.

Depends on your budget and volume needs, I'd look for something that can be wedged back personally as unless it's on some sort of stand those little combos are going to be firing at your ankles. If your budget is lower then have a look for a used Hartke Kickback or one of the A series combos. I've used a Kickback 15 and an A70 for smaller gigs and they were great little things. Not the lightest (especially the KB) but sounded solid, Behringer did a decent copy of it if you need to get down to a budget. If your budget is higher than a decent powered wedge monitor with a preamp pedal would be my go to option, or if you already have a small amp then just get a nice 1x10 or 1x12 cab.

I got no response after I had problems with my Superfly, similar situation to yours. Fortunately mine was still within warranty so the shop covered repair twice and I ended up getting enough use out of the amp to make it worth £199. Seems like everyone who had that amp got ignored, I think it's a part of their history they seem very eager to forget. It put me off buying Ashdown again (and I spent a fortune on rigs over the next few years), a stance which was strengthened when I used one of their higher end combos that sounded like diarrhea in the bath.

Sounds like you need some of that famous Ashdown customer service that everybody else seems to get! Hopefully their rep here can chime in and mail the correct driver to you, a bit silly letting it leave the factory like that and good you spotted it before anything nasty occurred.

Or if you do want a new amp just buy whatever you like and when it turns up just hit her with "it looked smaller in the pictures".

Let her grumble?

That's a steal.